Fine finale
Vidwan R.K. Srikantan (right) and Vidwan Ramakanth gave a remarkable concert
THE CONCLUDING concert by Vidwan R.K. Srikantan was an artistic and aesthetic finale at the two-day seminar on Vaggeyakaras of Mysore. Intricate and scholarly textual contents with rare swara-stayis of Mysore Sadasivarayaru are a challenge for the vocalists. Srikantan's splendid articulation of ragabhava and svarakalpana among the selected compositions in Gambhira Nata ("Vanajaksha"), Balahamsa ("Ninuvina Gathi Na Kevaru"), Abhogi ("Nee Kepudu Dayavatsano") and Mohana ("Pedda Devudunduni") were exhilarating. His crisp and agile delineation of ragas Abhogi and Ananda Bhairavi with creative kalpana-svaras even at his ripe age were remarkable.
Good support
Vidwan Ramakanth established a good command too. His vocal coherence gave ample strength to the concert. Neraval of charana-sahitya "Vimalahridaya Sadasivanutha" in raga Abhogi exemplified the lyrical competence of the composer. Composition of Swathi Tirunal in raga Mayamalagowla ("Devadeva Kalayami") was a slight deviation to the agenda of the seminar.
Notable part of the concert was also the admirable support by accompanying artistes. The sublime music on violin by Ms. Charulatha Ramanujam garlanded the raga-bhava of Mohana and Abhogi, while Tumkur Ravi Shankar (mridanga) won the appreciation of RKS for his rhythmical excellence in gathi-bedas. Shashishankar on ghata was good in the tani ensemble.
The other significant feature of the seminar was the open house quiz on the life and contributions of these legends, designed and presented by Vidwan V. Nanjundaswamy.
There was good response by the students and elders. It threw light on several achievements of Bidaram Krishnappa, Mysore Sadashivarayaru, Veene Seshanna and Mysore Chowdiah.
Concluding session
Devotional songs by Pandit Basavaraja Maradur's group concluded the four-day annual sangeethotsva of the Sruthimanjari organisation at Paul Harris Auditorium, Mysore. Coming from the gurukula of Pandit Basavaraj Rajaguru, the initial composition in Marwa with elegant svara prayogas was well articulated, evoking the charm of this popular raga. However, svara kalpana and delineation of alap needed more depth. Vidwan Ramesh Dhannur on the tabla was fascinating. Harmonium by Vidwan Somashekar was a boon to the artiste for an impressive performance.
B.S.S. RAO
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